Distinguishing[26] charm (ἡδονή) from beauty (τὸ καλόν), Dionysius finds[27] that they arise from four qualities: melody, rhythm, variety, aptness. Melody is an affair of pitch and inflection. The passage,[28] besides being a precious hint as to the Greek scale, is a useful reminder that English—and especially American—speech too often ignores variety of pitch. Similarly the treatment of rhythm as quantitative[29] should remind us that in our own habit it is predominantly accentual. These differences in habit of speech, while they suggest resources unused, should none the less warn us against transferring the distinctions and counsels of Dionysius bodily from Greek to English. Of those that are equally applicable to both languages is the general advice[30] to seek variety and aptness less in the choice of words, where there can be little latitude, than in their combination. Indeed, it is hardly too much to say that aptness of style, though abstractly it includes precision and imagery in the single word, is more largely than most of us realize an effect of rhythm, and that variety, except when in oral utterance it includes pitch, consists in rhythm exclusively. Distinguishing[31] the letters as vowels or consonants, Dionysius finds Greek speech sounds to be neither more nor less than twenty-four. His phonetic analysis of these is specifically according to the position of the vocal organs in utterance. The following discussion[32] of the quality of syllables in combination, of effects hard, smooth, or sweet in sound apart from sense, is doctrine oftener accepted as an idea than tested.[33] Syllables, which are combinations or interweavings of letters, preserve at once both the individual properties of each component and the joint properties of all, which spring from their fusion and juxtaposition. The sounds thus formed are soft or hard, smooth or rough, sweet to the ear or harsh to it; they make us pull a wry face, or cause our mouths to water, or bring about any of the countless other physical conditions that are possible. These facts the greatest poets and prose-writers have carefully noted, and not only do they carefully arrange their words and weave them into appropriate patterns, but often, with curious and loving skill, they adapt the very syllables and letters to the emotions which they wish to represent. [Passages from Homer are quoted as examples.] Such lines are to be found without number in Homer, representing length of time, hugeness of body, stress of emotion, immobility of position, or similar effects, simply by the manipulation of the syllables. Conversely others are framed to give the impression of abruptness, speed, hurry, and the like.[34]